Six years after Michael Myers last terrorized Haddonfield, he returns there in pursuit of his niece, Jamie Lloyd, who has escaped with her newborn child, for which Michael and a mysterious cult have sinister plans.
Three years after he last terrorized his sister, Michael Myers confronts her again, before traveling to Haddonfield to deal with the cast and crew of a reality show which is being broadcast from his old home.
Heidi, a radio DJ, is sent a box containing a record - a "gift from the Lords". The sounds within the grooves trigger flashbacks of her town's violent past. Is Heidi going mad, or are the Lords back to take revenge on Salem, Massachusetts?
Sheri Moon Zombie,
Michael Myers is still at large and no less dangerous than ever. After a failed reunion to reach his baby sister at their old home, Laurie Strode is immediately taken to a hospital to be treated by the wounds that had been afflicted by her brother a few hours ago. However, Michael isn't too far off and will continue his murdering 'Halloween' rampage until he gets his sister all to himself.Written by
The Rob Zombie iterations of Halloween clearly remove any supernatural aspect from the character of Michael Myers, this results in a plot inconsistency from the first film. It is never explained how Michael was able to survive a gunshot wound to the face at point-blank range without immediate medical attention. See more »
[yelling outside her house, drunk]
Hey, world! Guess what. I'm Michael Myers' sister! I'm so fucked!
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[at the beginning before the opening credits] WHITE HORSE - Linked to instinct, purity and the drive of the physical body to release powerful and emotional forces, like rage with ensuing chaos and destruction. --excerpt from the Subconscious Psychosis of Dreams. See more »
The Director's Cut runs 14 minutes longer (119 minutes). Among the changes:
The opening scene with Laurie walking and Loomis being placed into the ambulance is longer.
The hospital dream scene has an extra sequence of Laurie attempting to cross over a pile of bodies.
An on screen title that said "One Year Later" in the Theatrical Cut now says "Two Years Later."
During the breakfast scene, Laurie and Annie now argue about going to the psychiatrist.
More dialogue with Laurie and the psychiatrist. Laurie looks at a framed inkblot on a wall and says that it looks like a white horse.
Loomis' press conference is expanded. Loomis discusses Michael's Oedipal complex, as well as the idea that Michael perhaps saw Loomis as a father figure.
Added sequence where Laurie runs a bath and begins to freak out.
Laurie stopping to play with a pig on her way to work is removed. She instead goes to the psychiatrist and tells her about playing with the pig (we see a few seconds of it, now in flashback), and how it triggered a nervous breakdown of sorts. When the shrink denies her more pills, Laurie freaks out and swears.
The scene where Annie finds Laurie drinking a beer in her room has been expanded: They have another fight.
A non-masked Michael (along with Young Michael and his mother) angrily looks at a billboard that advertises Loomis' book.
When Laurie and Maya come home from the party, there is a short added sequence of them making tea in the kitchen prior to going upstairs. There's also an added shot of Michael apparently walking out of the house.
Brackett's reaction to finding Annie's body is longer, containing video flashbacks of real-life actress Danielle Harris as a child.
The ending is significantly different: After Loomis enters the cabin, Michael throws him through a wall, and the two of them wind up outside. Michael then removes his mask, yells "DIE!", and stabs Loomis. The cops then open fire and kill Michael. Laurie then comes out, takes Michael's knife, and approaches Loomis with it, implying that she may stab him. The cops then open fire on her and seemingly kill her. We then fade to the same hospital footage seen at the end of the theatrical cut as a cover of "Love Hurts" plays on the soundtrack.
John Carpenter's 1978 'Halloween' is wholly deserving of its status as a horror classic. To this day it's still one of the freakiest films personally seen and introduced the world to one of horror's most iconic villainous characters Michael Myers.
Its numerous sequels were wildly variable, with 'Halloween H20' being the only above decent one for me (the fourth one was also watchable but not much more) and 'Halloween: Resurrection' being proof that the series shouldn't have been resurrected and that it should have ended at 'H20', a perfect place to stop. Something that was further felt in Rob Zombie's awful first 'Halloween' outing from 2007. His second 'Halloween' film, this one, is even worse and even more pointless than its predecessor.
The only real good thing here is the make-up which is pretty good. Brad Dourif comes off best in the acting department and does his best but he deserves better and has been better too.
Everything else fails...and not just by a little. Catastrophically. The rest of the acting is scarier than Michael Myers himself (at his least creepy here) in how bad it is. Scout Taylor-Compton, in an embarrassingly appalling career-killing performance, and Sheri Moon Zombie, who should be nowhere near in front of a film camera, are especially bad. The film also brings the worst out of Malcolm McDowell, actually a good actor wasted in a very poorly written and used role.
All the characters are bland, annoying or both, nobody is remotely likeable here or worth rooting for (even those intended to be) and the dialogue down there with the worst of SyFy and The Asylum, and worse. The production values are too gimmicky, Zombie continually seems to think taking a self-indulgent smug approach to his directing is being cool and the music is constantly at odds with the mood and the action, nothing atmospheric or appealing here and more outdated attempts at being cool.
Overused and a vast majority of the time gratuitous expletives, artificial gore and sickeningly brutal violence completely get in the way of a coherent or engaging story, that's instead paper-thin, unintentionally silly, nonsensical, dull and contrived. As well as tension, suspense, chills or terror (none in sight). The whole Deborah and white horse stuff was not needed, felt completely misplaced and just added absurdity to the story, while the ending is as slap in the face a joke as it comes.
In summary, awful and had no point to it whatsoever. 1/10 Bethany Cox
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